| The Computer-Animated Film: Industry, Style and Genre C Holliday Edinburgh University Press, 2018 | 36 | 2018 |
| Rewriting the stars: Surface tensions and gender troubles in the online media production of digital deepfakes C Holliday Convergence 27 (4), 899-918, 2021 | 21 | 2021 |
| ‘I’m not a real boy, I’ma puppet’: Computer-animated films and anthropomorphic subjectivity C Holliday Animation 11 (3), 246-262, 2016 | 20 | 2016 |
| The accented American: the new voices of British stardom on US television C Holliday Journal of British Cinema and Television 12 (1), 63-82, 2015 | 17 | 2015 |
| London, the Post-7/7 Bond Films, and Mourning Work C Holliday Journal of Popular Film and Television 46 (1), 56-63, 2018 | 12 | 2018 |
| Fantasy/Animation: Connections Between Media, Mediums and Genres C Holliday, A Sergeant Routledge, 2018 | 10 | 2018 |
| Mothering the Bond-M relation in Skyfall and the Bond girl intervention C Holliday For His Eyes Only: The Women of James Bond, 265-273, 2015 | 9 | 2015 |
| Contemporary Hollywood Terrorism and ‘London Has Fallen’Cinema C Holliday The London Journal 45 (1), 146-168, 2020 | 4 | 2020 |
| In Good Hands? Indexes and Interfaces in A Computer Animated Hand (Ed Catmull & Frederic Parke, 1972) C Holliday The Crafty Animator: Handmade, Craft-based Animation and Cultural Value, 157-180, 2019 | 4 | 2019 |
| Toying With Performance: Toy Story, Virtual Puppetry and Computer-Animated Film Acting’ C Holliday Toy Story: How Pixar Reinvented the Animated Feature, 87-104, 2018 | 4 | 2018 |
| Emotion capture: vocal performances by children in the computer-animated film C Holliday Film and Screen Media, University College Cork, 2012 | 4 | 2012 |
| The Depth Deception: Landscape, Technology and the Manipulation of Disney’s Multiplane Camera in Snow White and the Seven Dwarfs (1937) C Holliday, C Pallant Snow White and the Seven Dwarfs: New Perspectives on Production, Reception …, 2021 | 3 | 2021 |
| Retroframing the future: digital de-aging technologies in contemporary hollywood cinema C Holliday JCMS: Journal of Cinema and Media Studies 61 (5), 210-237, 2021 | 3 | 2021 |
| “You Are Not Responsible for Their Choices, Elsa”: The Lion King (2019), Frozen II (2019) and the Theatre of Photorealist Achievement C Holliday animationstudies 2.0, 2020 | 3 | 2020 |
| Introduction: Approaching Fantasy/Animation A Sergeant, C Holliday Fantasy/Animation: Connections Between Media, Mediums and Genres, 1-19, 2018 | 3 | 2018 |
| ''Old Dog, New Tricks'': James Bond's Digital Chaos C Holliday International Journal of James Bond Studies 4 (1), 2021 | 2 | 2021 |
| After Disney closed one of its major studios, animation is under pressure in pandemic Hollywood C Holliday | 2 | 2021 |
| ‘Movin’to a Different Beat’: Commercial Pixar and the Simulated Ordinary C Holliday Animation and Advertising, 283-298, 2019 | 2 | 2019 |
| Carl's Moving Castle:“Animated” Houses and the Renovation of Play in Up (2009) C Holliday Spaces of the Cinematic Home, 19-31, 2015 | 2 | 2015 |
| Notes on a Luxo world C Holliday Animation Practice, Process & Production 4 (1), 67-95, 2014 | 2 | 2014 |
Chris PallantProfessor, Canterbury Christ Church UniversityVerified email at canterbury.ac.uk